COURSE INTRODUCTION AND APPLICATION INFORMATION

Course Name
Film and the City
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 380
Fall/Spring
2
2
4
5
Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
First Cycle
Mode of Delivery Online
Teaching Methods and Techniques of the Course
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives The aim of the course is to make the students gain knowledge on issues that appear at the intersection points of urban studies and film studies, by focusing on the relationship between film and the city.
Learning Outcomes The students who succeeded in this course;
  • define the parallel histories of film and the city
  • investigate the relationships between city and cinema
  • analyze issues located at the intersection points of film studies and urban studies,
  • compare what one sees looking at the city from the perspective of film studies and looking at cinema from the perspective of urban studies
  • think and conduct research in an interdisciplinary manner
Course Description Since the end of the 19th century, film production has been closely related to urbanization and industrialization. The city has also been a fascinating setting and subject for cinema. This course will investigate the multiple relationships between film and the city, by dwelling on topics such as film noir and the urban underworld, utopian / dystopian imaginations of the city in film, how cities are shaped by film production.
Related Sustainable Development Goals

 



Course Category

 Core Courses
Major Area Courses
X
Supportive Courses
Media and Managment Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Required Materials
1 The Modern Metropolis Screening: Walther Ruttmann, Berlin. Symphony of a Great City Barbara Mennel “Modernity and the City Film: Berlin” in Cities and Cinema.2008. Recommended: Georg Simmel “The Metropolis and Mental Life” (1903) in G. Bridge & S. Watson, eds. The Blackwell City Reader. 2002. Anton Kaes “Leaving Home: Film, Migration and the Urban Experience” New German Critique. 1998.
2 Film and the Urban Fabric Giuliana Bruno “Motion and Emotion: Film and the Urban Fabric” in A. Webber and E. Eds. Cities In Transition: The Moving Image and the Modern Metropolis. 2008.
3 The Cinematic City Neyar AlSayyad “Urbanizing Modernity: the traditional cinematic small town” in Cinematic urbanism: a history of the modern from reel to real. 2006. Formularende Formularbeginn
4 City Noir: Los Angeles Screening: David Lynch Frank Krutnick "Something More Than Night: Tales of the Noir City" in Cinematic City. D.B. Clarke. 1997.
5 Cinematic Representations of Istanbul Screening: Tabutta Rövaşata, Derviş Zaim. Özlem Köksal, World Film Locations: Istanbul. 2011. Recommended: Asuman Suner, "Tabutta Rövaşata’da Agorafobik Kent, Açık Alana Kapatılmışlık ve Dehşet" Toplum ve Bilim, No. 94, 10/2002, s. 86-108.
6 Film as Urban Memory Screening: Hiroshima Mon Amour, Alain Resnais/Marguerite Duras, 1959. G. Pratt & R.M. San Juan “Remembering to forget to remember. The persistence of memory and the cinematic city” in Film and Urban Space. Critical Possibilities. 2014.
7 Migration, City, Film Screening: Otobüs, Tunç Okan. 1975. Ipek Türeli, „Istanbul in Black and White: Cinematic Memory” 2012. (http://www.asia.si.edu/research/articles/istanbul-in-black-and-white.asp)
8 Utopia / Dystopia Screening: Metropolis, Lang, 1927. Thomas Elsaesser. Metropolis. British Film Institute. 2008. Recommended: Geoffrey Nowell-Smith “Cities : Real and Imagined” in M.S. & T. Fitzmaurice, Eds. Cinema And The City : Film and Urban Societies in a Global Context. 2001.
9 Film Industry and Urban Space Josh Stenger, “Return to Oz: The Hollywood Redevelopment Project, or Film History as Urban Renewal” in Shiel & Fitzmaurice (Eds) Cinema and the City. 2001, pp. 59-72.
10 The Political Economy of the City Screening: Patrick Keiller, from the Trilogy: London, Robinson in Space, Robinson in Ruins. Patrick Keiller interview in the Guardian: https://www.theguardian.com/film/2012/nov/30/patrick-keiller-london-original-interview
11 Women’s experience in city films Screening: The Big City, Satyajit Ray Derek Malcolm interview with Satyajit Ray. Sight & Sound 51:2, Spring 1982, 106-109.
12 Ghetto films Screening: Le Haine, Kassovitz Barbara Mennel “Ghettos and Barrios” in Cities and Cinema, 153-175.
13 Time and the City Screening: Chris Marker Sarah Cooper “Time and the City: Chris Marker” in Cities in Transition, A. Webber & E. Wilson (Eds). 2008, 113-122.
14 Fragments of the City: Non-linear narrative Screening: Planet Galata (2011, Florian Thalhofer & Berke  Baş) http://www.planetgalata.com
15 Overview
16 Overview
Course Notes/Textbooks
Suggested Readings/Materials The course uses the sources that are listed above in the Weekly Subjects and Related Preparations.

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
1
20
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
1
10
Project
1
50
Seminar / Workshop
Oral Exam
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
100
Weighting of End-of-Semester Activities on the Final Grade
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Course Hours
(Including exam week: 16 x total hours)
16
4
64
Laboratory / Application Hours
(Including exam week: 16 x total hours)
16
Study Hours Out of Class
0
Field Work
1
20
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
1
11
Project
1
55
Seminar / Workshop
Oral Exam
Midterms
Final Exams
    Total
150

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
 Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.

 X
2

To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.

 X
3

To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.

 X
4

To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.

 X
5

To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.
6

To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.
7

To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.

 X
8

To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.
9

To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. 
10

To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.
11

To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).

 X
12

To be able to use a second foreign language at the medium level.
13

To be able to connect the knowledge accumulated throughout human history to the field of expertise.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest